Category Archives: Integrator News

Building auditoriums for the Arts is a tradition from the Greeks. Projection has since been added.

Post-Installation Cinema Test Tools; USL LSS-100 and DTT Digital eXperience Guardian

Post-Installation Quality Control for the Cinema Auditorium is finally getting some tools fit for the modern digital age. Two companies are putting network products into the sector which, up until now, was only filled with multi-thousand dollar test rigs or hand held units. (No smear intended on the new Meyer Sound X12 and Harkness Screen test devices released in the last 6 months – both are nice hand held units and fit for their purpose.)

First, the USL LSS-100 Light & Sound Sensor measures sound pressure level, luminance and chromaticity from its mounted position on the back wall of the theater auditorium. The 2 degree spot measurement is transmitted to the user as XYZ and x, y points and CCT, with great precision. The audio section measures C weighted pink noise, giving the level in the room in tenths of a dB.

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Post-Installation Cinema Test Tools; USL LSS-100 and DTT Digital eXperience Guardian

Post-Installation Quality Control for the Cinema Auditorium is finally getting some tools fit for the modern digital age. Two companies are putting network products into the sector which, up until now, was only filled with multi-thousand dollar test rigs or hand held units. (No smear intended on the new Meyer Sound X12 and Harkness Screen test devices released in the last 6 months – both are nice hand held units and fit for their purpose.)

First, the USL LSS-100 Light & Sound Sensor measures sound pressure level, luminance and chromaticity from its mounted position on the back wall of the theater auditorium. The 2 degree spot measurement is transmitted to the user as XYZ and x, y points and CCT, with great precision. The audio section measures C weighted pink noise, giving the level in the room in tenths of a dB.

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The Death of Silver Screens~! Vive la France

In May of 2002, the Attack of the Clones (Star Wars II) was released after a great effort by George Lucas. He encouraged cinema exhibitors to cross over to digital projectors, hoping for 1,000 and getting 100. At the time the digital light engine was a meager 1.3 meg, with pretty low light levels. The contrast left a bit to be desired, especially in the blacks (muddy browns). Against the mighty beauty of a first run film print showing fully saturated colors…especially a dark movie like Clones…the digital print looked pretty weak.

On the other hand, showing that same film print 10 days later, and running back and forth to a digital presentation, one really notices how much saturation gets lost from that film’s plastic during its run up to melting point by the lamp before the gate opens. Plus, when the electro-static charge is at its peak, the gate opens – attracting and melting in dust and grit. Suddenly the digital print shows promise – the colors which were once a little weak in comparison are actually better than the film’s. The judder is gone, making the picture easier to look at – no small attraction to kids who grew up with stable video presentations watching the cool new animations and CGI heavy movies of 2002 and ’03: Shrek II, The Incredibles, Harry Potter II, Nemo, Shark’s Tale…

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The Death of Silver Screens~! Vive la France

In May of 2002, the Attack of the Clones (Star Wars II) was released after a great effort by George Lucas. He encouraged cinema exhibitors to cross over to digital projectors, hoping for 1,000 and getting 100. At the time the digital light engine was a meager 1.3 meg, with pretty low light levels. The contrast left a bit to be desired, especially in the blacks (muddy browns). Against the mighty beauty of a first run film print showing fully saturated colors…especially a dark movie like Clones…the digital print looked pretty weak.

On the other hand, showing that same film print 10 days later, and running back and forth to a digital presentation, one really notices how much saturation gets lost from that film’s plastic during its run up to melting point by the lamp before the gate opens. Plus, when the electro-static charge is at its peak, the gate opens – attracting and melting in dust and grit. Suddenly the digital print shows promise – the colors which were once a little weak in comparison are actually better than the film’s. The judder is gone, making the picture easier to look at – no small attraction to kids who grew up with stable video presentations watching the cool new animations and CGI heavy movies of 2002 and ’03: Shrek II, The Incredibles, Harry Potter II, Nemo, Shark’s Tale…

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Appeals Judgement in DCN VPF…

digitAll, the Australian supplier and integraor received a nice holiday present in the form of a judgement from the Australian Federal Appeals Court, with significant implications for the independent cinema industry. The case regards the negotiation of Virtual Print Fee (VPF) contracts with six Hollywood studios and digitAll’s partnership DCN…and others.

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Appeals Judgement in DCN VPF…

digitAll, the Australian supplier and integraor received a nice holiday present in the form of a judgement from the Australian Federal Appeals Court, with significant implications for the independent cinema industry. The case regards the negotiation of Virtual Print Fee (VPF) contracts with six Hollywood studios and digitAll’s partnership DCN…and others.

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First Run Movies|Premium Prices|Home–Celluloid Junkie

Prima Cinema LogoThe debate over motion picture release windows heated up again last week as two studios spoke openly about their plans for allowing limited home viewing of movies shortly after their theatrical opening. In addition, news came of a pricey new service looking to make films available in living rooms day-and-date with their theatrical launch.

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